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Roundtable Discussion: Pushing the Envelope on Sex and Nudity

Posted by Amber Ahlborn



Relatively recently Grand Theft Auto news made waves by showing a full frontal male nudity scene.  Now, this is hardly the first time a human being, male or female, has been shown nekkid in a game.  You can at least go back as far as the reprehensible Custer's Revenge for the Atari to find a digital representation of male genitals.  The question is, do we really need this sort of thing in a video game?

Amber's Take: Now, anyone who knows me also knows I'm a bit of a prude.  I really am not interested in having certain pieces of anatomy on public display.  That said, I don't have a problem with sex or the related bits in video games.  What I take issue with is how it's used.  I think the full exposure in the GTA scene serves no purpose other than to shout out "Hey, we did this because we could!" 

For most of the scene, the camera teases around the main character and very strongly gets the message across that this guy has no shame.  As a way of portraying a character trait, it's incredibly effective.  There is no question the character is a slime ball.  The final bit that shows his bits adds nothing other than a superfluous ick factor (all the more repulsive due to the character already sliding down the side of the Uncanny Valley).

Another thing I take issue with is when sex is used to trivialize people, usually women, in games.  I think the force of my sneer actually radiated heat when I learned about the sex mini games that have been popping up in certain titles already drowning in their own testosterone. 

Like violence, sex and basic human anatomy can be used to shock people.  This in and of itself isn't necessarily a negative.  Unfortunately, it's far too easy to use these elements in a cheap and base way, rather than as effective story telling tools or ways to drive messages home.  If you want to shock my sensibilities, fine,  more power to you.  I only have a problem with games that insult my intelligence and use the medium to degrade and dehumanize.

Cole's Take: I cannot think of a single instance in which sexual content has improved a game. I talked about this recently when I discussed God of War. I think that sex is used so often in media because creative types and business people operate under the false assumption that sex sells. I won't get into it here, but I took a class back in college that put the theory to rest. Yes, in some cases, steamy content will increase awareness about a particular movie, game, or whatever, but all things being equal, sexual content rarely has a measurable effect on sales. Which is why I find it so bizarre that developers, like the GoW guys, think that they absolutely have to have sex minigames, lest they disappoint fans.

I feel about sexual content the same way I feel about excessive, gory violence. It's cheap. I'd just as soon go back and play Starsiege: Tribes, which had no blood or gore, than a Controversial M-Rated Shooter. Game mechanics are what excites my senses, not titillating imagery. If one really wanted to be turned on, there are many, many superior alternatives outside of gaming that can be used to exercise that unsavory impulse, if you know what I mean and I think that you do.

Joe's Take:
I'm going to play a bit of devil's advocate here and say that for now, pushing the envelope just for the sake of pushing the envelope is a-okay. Videogaming is still a medium in adolescence, particularly in terms of how it is perceived by the public on a whole. In order to get on even footing with other mediums it has to do everything those mediums do, and has to do it in a way that gets attention. This actually makes "Hey, we did this because we could!" a valid reason to put in shocking content.

Of course the fact that this course of action is necessary for the overall health of medium doesn't defend certain crass, base implementations of shocking content, which of course can be horrendous and cause short-term damage to the perception of games on a whole. This is a sort of collateral damage, though. If you want to be able to expand the visual language of games to include the same taboo bits as cinema or HBO you have to let everyone (or rather, everyone willing to get an M or AO-rating) use the taboo bits, and not everyone will use them in a way that is within reasonable societal norms. The overall impact will still be positive, as it will create a genuinely mature way for games to discuss genuinely mature themes.

Note that I'm not defending any of Amber's examples. I've not seen the Lost and Damned content, and God of War's minigame, though maybe justifiable as a characterization device in the first game, did not need to be in the later games. Custer's Revenge was the most deplorable part of a thankfully failed experiment to create an adult games industry similar to the adult film industry--that sort of effort will always be consigned to the gutters, and isn't really relevant to games as a medium.



Related Links:


Roundtable Discussion: Genre Design Evolution

Roundtable Discussion: The Fandom Phenomenon Part 1

Roundtable Discussion: Where is the Handheld Version of Console Wars?


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Comments

Steve said:

From "Cole's Take"

"Game mechanics are what excites my senses, not titillating imagery."

I'm not quite sure what you're alluding to, with all the talk of senses and excitement, but I'd say there is a definite Wow factor when an art director manages to nail blood and gore effects in their game.  Decapitations come to mind...

March 20, 2009 5:53 PM

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About Amber Ahlborn

Artist, writer, gamer and DigiPen survivor, she maintains a day job as a graphic artist. By night Amber moonlights as a professional Metroid Fanatic and keeps a metal suit in the closet just in case. Has lived in the state of Washington and insists that it really doesn't rain as much as everyone says it does.

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John Constantine, our superhero, was raised by birds and then attended Penn State University. He is currently working on a novel about a fictional city that exists only in his mind. John has an astonishingly extensive knowledge of Scientology. Ultimately he would like to learn how to effectively use his brain. He continues to keep Wu-Tang's secret to himself.

Derrick Sanskrit is a self-professed geek in a variety of fields including typography, graphic design, comic books, music and cartoons. As a professional hipster graphic designer, his recent clients have included Hooksexup, Pitchfork and MoCCA, among others.

Amber Ahlborn - artist, writer, gamer and DigiPen survivor, she maintains a day job as a graphic artist. By night Amber moonlights as a professional Metroid Fanatic and keeps a metal suit in the closet just in case. Has lived in the state of Washington and insists that it really doesn't rain as much as everyone says it does.

Nadia Oxford is a housekeeping robot who was refurbished into a warrior when the world's need for justice was great. Now that the galaxy is at peace (give or take a conflict here or there), she works as a freelance writer for various sites and magazines. Based in Toronto, Nadia prizes the certificate from the Ministry of Health declaring her tick and rabies-free.

Bob Mackey is a grad student, writer, and cyborg, who uses the powerful girl-repelling nanomachines mad science grafted onto his body to allocate time towards interests of the nerd persuasion. He believes that complaining about things on the Internet is akin to the fine art of wine tasting, but with more spitting into buckets.

Joe Keiser has a programming degree from Johns Hopkins University, a tiny apartment in Brooklyn, and a fake toy guitar built in the hollowed-out shell of a real guitar. He writes about games and technology for a variety of outlets. One day he will stop doing this. The day after that, police will find his body under a collapsed pile of (formerly neatly alphabetized) collector's edition tchotchkes.

Cole Stryker is an American freelance writer living in York, England, where he resides with his archeologist wife. He writes for a travel company by day and argues about pop culture on the internet by night. Find him writing regularly here and here.

Peter Smith is like the lead character of Irwin Shaw's The 80-Yard Run, except less athletic. He considers himself very lucky to have this job. But it's a little premature to take "jack-off of all trades" off his resume. Besides writing, travelling, and painting houses, Pete plays guitar in a rock trio called The Aye-Ayes. He calls them a 'power pop' band, but they generally sound more like Motorhead on a drinking binge.


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